Vol. 23 (2017)
Alicia Rivero, Editor
The University of North Carolina at Chapel Hill
C.P. Snow, a physicist, bemoaned the separation of science and humanities in his famous Cambridge lecture of 1959, “The Two Cultures.” He considered literary intellectuals uninformed about science. In contrast, Snow idealized scientists. Snow expanded his lecture in his Two Cultures and the Scientific Revolution. This tome was later revised partially by him. In one of many publications since then which discuss the polemics surrounding Snow, Lawrence Krauss, also a physicist, lamented in 2009 that “Snow’s vision has gone unrealized” (www.scientificamerican.com/article/an-update-on-cp-snows-two-cultures). However, Lévy-Leblond, a physicist-philosopher, provides an indirect reply to Krauss much earlier by uniting the scientific and literary in “Le Miroir” (translated from French by López Mújica in “El espejo”), as do the more recent authors included in this volume of Ometeca. Salutary views are espoused by Lévy-Leblond, who probes what literature and its scholars can contribute positively to science, and literary criticism to scientific fields.
Thus, this issue blends scientific disciplines with literature and other humanities, as one would expect in Ometeca, which includes digital humanities in volume 23 with Glazier. He is the Director of the Electronic Poetry Center, a poet-programmer, a media professor and performer, as well as an essayist of poetics (e.g., Digital Poetics), among other roles that he plays professionally. Glazier also interweaves said “cultures” originally in poems like “Not-Moth” and in his revised keynote, “Albaizín,” both of which are included in this issue, as do the articles contained in this volume. Glazier’s excerpt of “Not-Moth” is a good example of science poetry that Ometeca also publishes, in the spirit of the Ometeca Institute’s founder, Rafael Català, a poet in his own right. In Glazier’s case, this genre includes the digital, programmed construction of “Not-Moth” and the poetic theory underpinning it, explained in his “Author’s Remarks” to the poem and in “Albaizín.” Be that as it may, this is not a tome of selected proceedings: some work consists not only of revised, expanded conference papers or the excerpted poem and keynote presented at the Ometeca Conference in 2016, but also of new contributions.
From prehistory to post-history, this volume contains fictional or theoretical representations of early humans by novelists and anthropologists (Carr and Pratt), as well as depictions of the posthuman (Gámez Perez) and cyborgs (Krieg; Martín Galván). Modeling is another concept that is explored in literature and neuroscience (Arata), or in cybernetics and communication studies (Martinez). In addition, the relations between naturalist and environmental texts within and without Costa Rica are explored, together with their impact on that nation’s conservation programs (Izaguirre).
As is typical for the journal, then, this volume of Ometeca addresses a wide range of interdisciplinary and multicultural interests in the broadest sense. It also reviews notable books: Gala’s Synergies: Poetry, Physics, and Painting in Twentieth-Century Spain (2011) and Palomo’s 2016 translation of it, Sinergías: Poesía, física y pintura en la España del siglo XX (Cavanaugh). Various literatures are probed in this issue of the journal: those of Latin America and Spain, as usual, in addition to Latino/a/ix, North American, Italian, and French texts, etc.
To conclude, if I may be permitted a brief explanation, the Editor’s torch was passed from Jerry Hoeg to me. This happened when he became the Ometeca Institute’s current President/Director, after the untimely demise of our beloved and admired former head — Kevin Larsen —, commemorated in a prior volume of the journal. Dr. Hoeg’s act will be a difficult one to follow, but I’ll do my best. Finally, I would like to take this opportunity to thank Jerry not only for his leadership and selfless service to the profession, but also for his invaluable help.
Arata, Luis O. “Creative Translations: Modeling from Borges to Llinas”: pp. 8-16.
Carr, William F., and Dale J. Pratt. “Minds in the Cave: Translation and Early Human Subjectivities in Spanish Novels of Prehistory”: pp. 17-44.
Gámez Perez, Carlos. “Tecnología y medio ambiente en la literatura posthumana española”: pp. 45-60.
Izaguirre, Frank. “Green Letters for the Green Republic: The Role of Environmental Literature in Costa Rica’s Rise as a Conservation Paragon”: pp. 61-75.
Krieg, Sam. “Futurist Parody in Vicente Huidobro and Hans Arp’s ‘Salvad vuestros ojos’”: pp. 76-93.
López Mújica, Montserrat, translator. “El espejo, la retorta y la piedra de toque o ¿quépuede aportar la literatura a la ciencia?” By Jean- Marc Lévy-Leblond: pp. 94-117.
Martín Galván, Juan Carlos. “¿Quésignifica ser posthumano?: aproximaciones críticas al concepto de la posthumanidad desde la ciencia ficción española”: pp. 118-34.
Martinez, Mark Anthony. “De Las Máquinas Vivas . . .”: pp. 135-49.
Cavanaugh, Cecelia J., S.S.J. Review of Synergies: Poetry, Physics, and Painting in Twentieth-Century Spain, by Candelas Gala, and Sinergías: Poesía, Física y Pintura en la España del Siglo XX, by Candelas Gala: pp. 150-52.
Glazier, Loss Pequeño. “Not-Moth” — Author’s Remarks and Excerpt: pp. 153-59.
Keynote (Ometeca Conference 2016)
Glazier, Loss Pequeño. “Albayzín, Arrays, ‘Asombro de Luna’: Towards Language, the Multiple, and the Balcony’s Steady Gaze” (Excerpt): pp. 160-79.
Our Cover — Credits
Fruneau, Yvon, photographer. “Cave of Altamira.” CC BY-SA 3.0-igo (https://creativecommons.org/licenses/by-sa/3.0-igo), via Wikimedia Commons (https://en. wikipedia.org/wiki/Cave_of_Altamira) and UNESCO (unesco.org).
https://commons.wikimedia. org/wiki/File%3ACave_of_Altamira_ and_Paleolithic_Cave_Art_of_ Northern_ Spain-110113.jpg.